A hidden treasure ! That's raw , savaaage ... the Stooges meets the Doors !Wild child was a french combo ... They came from Marseille to burn Paris !After a single "Stooge face" they recorded this mini lp "Speedlife O'mind" in 1982 ! This is pure Stooges stuff , directly from the Fun House !!!Take it ... you won't regret it !

Japanese import, 22 song comp from Arne Thelin who was the leader of a long list of really cool bands, our favorite one being The Kwyet Kings, whose songs dominate this collection, but he also was in the very Shambles/Barracudas like band, The Lust-O-Rama and Bittersweets. The material from Kwyet Kings is full of pistol whipping Plimsouls/Moberlys styled energy and nifty guitar work and vocals, a fast `n fresh distillation of power pop that nails the spirit of the above bands dead on and survives the act of nostalgia w/ease. The other bands are hard `n fast versions of garage bands like aforementioned Shambles, Chesterfield Kings and the fab great Barracudas. If you like a bit of buzz and power with your pop with a rootsy 60`s edge, this one is Extremely Highly Recommended! Notlame

10/20/2009

New York Dolls’ guitarist, Steve Conte, will release a solo album to coincide with the New York Dolls’ highly anticipated forthcoming UK tour which kicks off on December 2nd at the Cambridge Junction . The new album entitled “Steve Conte and the Crazy Truth” will be released on the Varese Vintage label on Monday November 30th (check it here!), and features a guest appearance from Dolls’ vocalist David Johansen on harmonica. The New York Dolls’ forthcoming UK tour includes the following dates: Cambridge Junction (Dec 2), Bristol Anson Rooms (Dec 3), HMV London Forum (Dec 4), Southampton Talking Heads (Dec 6), Leamington Spa Assembly (Dec 8), O2 Liverpool Academy (Dec 9) and HMV Edinburgh Picture House (Dec 10).

Broken bottles, broken instruments, broken bones, broken hearts -- the only thing Some Action might ever fix is rock and roll. They're outlaws in a city where dancing and smoking are illegal, outcasts in a genre where style shines over substance and outnumbered by faux fashion bands full of retro rockers. And yet, here they are: the kids have spoken, the beer has been spilled, many of us have been waiting for this but few are prepared. The tale of Some Action's formation is byzantine and boozy, but all members escaped their own version of suburban hell to make big, rotten noise in the Big Rotten Apple. Guitarist E. Campbell learned what it meant to 'live free or die' in New Hampshire while it was more of a 'skate or die' situation for bassist J. Gatland in Long Island. Singer I. Magee came to town via the streets of Baltimore while drummer Z. Shaw headed downstate from the rock star retirement home of Woodstock. After a few introductions and more than a few drinks, the band suddenly found itself blazing a path of rock and roll desctruction from depths of dive bars to the velvet ropes of VIP rooms. With explosive and unpredictable live shows, Some Action quickly built a buzz that rivals most inhalant benders. Besides numerous shows with their good friends in The Star Spangles, the band has played alongside The Weirdos, 999, Detroit Cobras, Jon Spencer Blues Explosion, The Little Killers and The Witnesses, to name a few. Like a vodka shot down the wrong pipe, seeing Some Action live is an intense and intoxicating experience. Hook-heavy punk rock is delivered at top volume and velocity without a hint of jaded cynicism or plastic posing. These are the two-minute blasts of sugar and sandpaper - get your rehearsed rock histrionics elsewhere and don't bother sending us the bill for the damages. The microphone swings dangerously close your face - oh wait, that's not a microphone - while you're staring at all the splinters coming from behind the drums, wondering if a wall is collapsing. Ears pinned between blaring amplifiers, you can start to hear the punk spirit of 70's NYC resonate from three decades away. In the summer of 2003 - two years after forming - Some Action released a debut EP : five songs and several dozen cases of beer later, the group had finally captured the essence of a sound displaced by time and money: authentic rock and roll with no retro pretense. In fact, listeners report having more fun listening to the record than having sex, which either means that New York's more dead than we thought, or that Some Action is actually living up to its name.Source

Mick Rossi following demise of Slaughter & the Dogs recorded this album with ex Heavy Metal Kids vocalist Gary Holton.

"This collection of songs was composed over a period of eight months working with Gary, although my friendship goes back some ten years.

The vibes and presence he brings can be heard throughout this album. One of the most original and innovative singers and performers of his time. A funny and also sensitive man who has such a lust for life. My friendship over many years with Gary still holds great memories.

"With their cross-dressing antics and Poison-esque fashion sense, the Trash Brats exhibited their early-'70s glam rock influences, but there's a lot more New York Dolls power pop to them than pretty boy mischief. No flaming guitar solos and no wannabe "evil" sounding horror undertones (although the vocals are reminiscent of Alice Cooper) -- just dirty, catchy rock & roll." Allmusic

"The year is 1987. Imagine it. Punk rock is just a pipe dream for most, as it couldn’t even last past 1980. Hardcore punk has quickly developed into punk’s mortal enemy, metal ... and prissy hair rock has taken over MTV. Bands like Poison act like they are doing the New York Dolls a service by dressing up like girls, but it’s just a chance to cash in. Yet, out of the anti-glam town of Detroit, four makeup-wearing miscreants bring the fury of the Dolls' cheeky rock ‘n’ roll. Meet the Trash Brats. Capitalizing on a formula of Chuck Berry R&B, the Buzzcocks pop and The Dickies' sense of humor, the Trash Brats became one of Detroit's biggest bands. They would ultimately release five full-length albums and play hundreds of shows over their initial 13-year run. " E. Allen

"What can you say about the Trash Brats ? In a time when it's cool to play rock'n'roll again these guys never stopped. After 13 years of playing rock & roll they have seen more than most would want to.

Having their neighbors torch their house to the ground , having their house robbed by drug dealers, having friends get shot and killed, even sued by a stalker. They have done most everything with the exception of selling out and being fake.

One thing these guys have never gotten or seen is the succes they rightfully deserve. Too punk for rock and too rock for punk...

You have to give the Brats credit. They have never compromised themselves to fit the current mold of what's trendy. Is it a coincidence that all these other so called rock bands look and sound the same ? No, they're just too pussy to do anything different. The Trash Brats have never cared about that. They dyed their hair unusual colors and strutted the drag look back when it was unheard of. It's funny seeing bands do it now when it's "safe"... If you think you've got balls try wearing a dress in a city full of auto workers...

So here are a collection of Trash Brats songs recorded from '87-'98 , hope you enjoy it !

For those who have never heard of the Trash Brats may your loss be your lesson..." M. Dedell - Liner Notes

10/16/2009

EDDIE & THE HOT RODS Gasoline Days cd 1995 320 kbpsHuman Touch / Emergency / Just Do It / Love Runaway / Love Lies Blending / It's Killing Me / (Oh No) What You Gonna Do / Crazy / Gasoline Days / Love Love Love / Alive.Produced by Eddie & The Hot Rods & S. Milton.Eddie & The Hot Rods : B. Masters : lead & backing vocals / S. Nicol : drums / P. Gray : bass / M. Rogers : guitars, lead & backing vocals.The band were originally formed under the name 'Buckshee' in 1973. They rehearsed in drummer Steve Nicol's garage in Rochford, Essex. Bassist Rob Steel was known by his nickname, 'The Hustler'. They changed their name to Eddie and the Hot Rods after Dave Higgs joined. He was more experienced, and it was his input at this early stage that helped them to gel and get gigs, eventually, in 1975, hitting the London pub rock circuit.They are often considered as one of the many punk rock bands that sprang from that city in the mid 1970s, but in fact saw themselves as more influenced by groups like The Who and The Kinks, and other pub rock acts such as Dr. Feelgood or Graham Parker and The Rumour. Their brand of energetic R&B was over-trumped massively by the punk explosion, and they withered away. The repertoire consisted of mainstream rock and soul covers, plus tunes in a similar vein written by the band's guitarist, Higgs. Source."...In 1994, the Hot Rods were offered a one-shot recording contract with the japanese record label, Creative Man Records. They re-grouped and the band made its first album in 16 years — Gasoline Days. The album was released in the UK in the spring of 1996 and in Japan..." Wikipedia

Bijou was a french power trio formed in the late '70s around Vincent Palmer (guitars), Philippe Dauga (bass), Dynamite Yan (drums) & Jean William Thoury (words). Alongside the Dogs or Starshooter, Bijou was one of those bands playing for the sake of rock & roll, but not quite making the big time. The band played both 1976 and 1977's Mont-De Marsan's Punk Festival and released six of more or less successful LPs with their original lineup, including the 1978 classic "OK Carole". Palmer went on to be a famous music critic, and the band went on without him in the '00s after a ten-year hiatus under the name Bijou SVP (a new album is due soon check it here).

10/11/2009

THE DEADBEATS On Tar Beach lp 1985New Rose 320 kbpsCrazy When I Hear That Beat /New Girl / Don't Tell Joe / Fall In Love Tonite / Johnny Reb / Bobby / Delilah : When You Dance / Swan Lake / Sexy Sadie.Produced by Vic MaileThe DeadBeats : S. May: vocals /T. Berrington: guitar /K. Green: bass / M. Robertson: drums .The Deadbeats were formed in London in the early 1980's and were the brainchild of US born singer and songwriter Suzy May. Influenced by a mix of Rockabilly, 60's Soul, Country and greasy British Rock & Roll the core line up of the band was Suzy, Tony Berrington on guitar and Kevin Green on bass. Tony and Kevin hailed from Nottingham where they had played together in various groups since their school days. In London the group frequented the rocking scene based around Dingwalls Night Club and the Hope & Anchor. A number of drummers occupied the drum stool including Parker, Keith (from the Darts) and Gary Long (Tenpole Tudor). Finally Mark Robertson (ex Meteors) was recruited. The band recorded an independent single "Crazy Hound Dog/Crazy when I hear that Beat" with their management company at the time - Blackhill. Gary played drums on the A side, Parker on the B side. The band then signed to New Rose Records in France for who they recorded the LP "On Tar Beach" from which the single "New Girl" was released. The recordings were made at Jacksons Studios with the late great Vic Maile producing. The band toured sporadically in the UK (supporting the Stray Cats and Pogues amongst others) and undertook an eventful two week tour of France.They began demoing songs for a second album but split around 1987.Currently Suzy lives in Liverpool, Tony in London (he is the guitarist for Girls on Top),Kevin between Florida and the south coast of the UK and Mark in France. Myspace

10/10/2009

UNDER NEATH WHAT What is it cd1989 320 kbpsLike An Animal / Straight Ahead Money (Peace Out) / Eggs, Bacon, Coffee And Suicide / Bad Karma Chameleon / Bad Star / Firebomb Telecom / Hallucination Come True / Their Heads Exploded / Pointed ID / Let's Do It Again / Johnny B. Baadd / 2000 Light Years From Home.Produced by D. Batchelor & Under Neath What.Under Neath What : A. Berenvi : guitar, vocals / T. Ashton : bass, vocals / Mikel C. : drums."... Under Neath What were one of the most creative, genre-defying flash metal bands ever, a buncha well-dressed sin-tellectuals with exotic tastes in poetry, woman, drugs, and rock n’ roll.They were Sleaze Metal personified, yet they never played one actual metal riff. They were like ghostly, translucent, psychedelic doppelgangers of Zodiac Mindwarp and the Love Reaction,replacing brute force, Viking death chants and primordial sex noise with loopy Bolan riffs, beat poetry, and otherworldlyechoes from the other side. And for many, many years, the only proof I even had of their existence was this album, and Pepsi’s off-hand remark about them being “Major label sleaze”... " Sleazegrinder (read more here)

KEVIN K BAND Rule The Heart cd 1998 AOK Recordings320 kbpsCrime Scene / My Little Backyard / Starin Up / Make It Last+ / Feel Like Dirt / Score Some Rock / Gang War* / St. Marks Place / Just Like That / Waitin / Count Your Blessings / Fall In Love / Nine Lives° / A Way Ou° / Breakdown° / World Keeps A Spinnin° / Three Inches Tall° / Repent° (°Alan K Demos)Produced by Kevin KKevin K Band : Kevin K : guitars & vocals / R. Molesso : bass , vocals / M. M. Gallo : drums.+ Mr Ratboy : guitar on * / P. Klein : guitar on +.I thought this was a re-issue until the song about Tim McViegh. Sounds like an '80s band with a '70s feel. Adds up to some good power pop with lots of intricate guitar work. Bonus tracks feature Alan K demo with drum machine, keyboards and something Springsteenesque.TB - Maximum Rock'n'rollI liked this way more than some previous releases. Kevin is letting go of some of his Johnny Thunders-wannabe stylizations and is finding more of his own style on this release. All good subject matter is covered: being treated like dirt, drugs, G.G. Allin, DWI. The CD was dedicated to the memory of Alan K whose demo is on tracks 13 thru 18. It's a shame Alan isn't around anymore as his tracks "Breakdown" and Nine Lives" explore the shitty side of life honestly.T. B. - Jersey Beat

One of Britain's top session guitarists of the '70s (even participating in records by the furry Wombles!), Chris Spedding has had a truly aberrant solo career. A veteran of numerous outfits starting in the '60s, Spedding made several LPs under his own name before joining Andy Fraser's post-Free band, Sharks, who made two hard-rocking LPs in 1973 and '74. (Spedding also played on one of Sharks vocalist Snips' subsequent solo outings.) After that band split, Spedding released a succession of LPs that combine exquisite rock guitar with lackluster vocals and songs so vapid as to be virtually nonexistent. The highlight of Chris Spedding is a novelty item called "Guitar Jamboree" which features Spedding aping various guitar heroes in a show of chameleonlike virtuosity. TrouserPress

This album was issued in cd, lp & tape by Fan Club (a division of the New Rose label , in charge of re-release material with kind of 'historical' interest : mainly music that have already been issued somewhere in the past, that happened to be long out of print, but linked with the spirit of the New Rose thang) in 1991 : it's a live album taken from different shows all over the years (1977 to 1989) !

Lili Drop : Olive (Lili Olimao R.I.P.) : vocals, guitar / Violaine : vocals, drums / Korin : bass, chant."...Olive guitarist songwriter was the Sid Vicious of French Rock'n'roll and Jean-Louis Aubert's alter ego, himself the singer with the biggest French band ever “Telephone”. He drew his influences in a very sensitive way from Rock'n'Roll, Funk, French pop and reggae. His songwriting talent was distinctive thanks to his generous and flowing style, while his lyrics were very realistic in the French tradition of Serge Gainsbourg, Jacques Brel... and mixture Rock Pop Funk Reggae blues. In spite of its mean notoriety its music listens and tests appreciates. Many a concert first started from Dave Stewart and Iggy Pop. The myth of french guitarist songwriter begin..." Source

By request ... I know that's it's a little "light" for the SOTD blog !Cd covers by MAX !

Twenty Flight Rockers was formed out of the ashes of Generation X by drummer Mark Laff and East London born singer Gary Twinn, who'd had a hit record in Australia with the band Supernaut. With guitarist Ian McKean and Jeff Vine on bass, they put together the band of their dreams. The kind of outfit they'd always wanted to see and hear. Musically they were digging Eddie Cochran, Elvis, Gene Vincent and Johnny Kidd but with a new post punk power and attitude. Visually they were The Beatles in Hamburg, leather, grease, motorbikes and birds. The sound was fresh, new and exciting. Just what the doctor ordered in those Duran/Goth poncy hairspray days. Twenty Flight Rockers reputation spread quickly and they were soon selling out clubs all over London. Their high regard as a live act grew such that they were named by the British music press as the top live band in the country and were subsequently invited to play the BBC's Janice Long show. ABC records release of Tower Block Rock/Weekend Revolution quickly entered the top 15 and the band was pursued and offered a deal by Warner Brothers Records. The Rockers wrote and recorded hours of material not only for an album but also three singles, a live album and an e.p. of their favourite rockn'roll covers. First release Johnny Seven just saw light of day when Warners fired most of their A&R dept and decided Madona and Prince were the only artists the British public needed to hear. Enter Bernard Rhodes. Mark knew Bernie Rhodes, the former Clash manager, from his own days with Subway Sect. Bernard saw the huge potential of TFR and immediately took the helm. He sent Gary to New York and encouraged him to write new songs from a broader perspective. Returning to London the new tracks were demoed but there was trouble in the ranks of TFR. Some members thought that others were being treated better than they. Ian was asked to leave and Danny B Harvey, from US band The RockCats, took over guitar. Bernard signed TFR to Epic Records in the States and a new album was made in Hollywood. First single Black Leather Jacket was receiving great reviews and heavy rotation by radio in LA, Detriot and New York. A US and UK tour was being planned when Epic was suddenly over-run by Sony and Twenty Flight Rockers once again found themselves with out a deal, broke and friendless. Source Myspace

Born in London in 1955, Londoner Gary Holton was a child star with the Sadlers Well Opera Company, and a graduate of both the Old Vic Theatre Company and the Royal Shakespeare Company. Just 17 when he joined the touring company of Hair, in 1972, it was there that he began making the contacts which would serve him in such good stead when he left, two years later, and formed the Heavy Metal Kids.

A raucous blend of streetwise rock, reggae, and balladry, permanently wrapped up in a Dickensian image of street urchin chic (homage to another of Holton's childhood gigs, playing the Artful Dodger in a production of Oliver), the Heavy Metal Kids cut two albums, with their eponymous debut ranking among the finest LPs of 1974.

Holton quit the band in late 1976, amid a tidal wave of drug-tinged accusations. He was always a drinker, but drugs brought a new, and troubling, influence into play. Friends blamed the American tour, where the very nature of the venues where the Kids were booked lent themselves to such introductions, but whatever the cause, the rest of the group couldn't deal with it.

Holton spent the next two years cleaning up and concentrating on his acting career again; by the time he rejoined the Heavy Metal Kids in 1978, he had landed roles in both the disco movie Music Machine and the upcoming film version of the Who's Quadrophenia epic. The band's rebirth, however, was doomed. The group played a string of increasingly disheveled gigs around London, then retired to the studio with producer Mickie Most, to record their much delayed (and mostly disposable) third album, "Kitsch". The band then broke up.

Holton continued to record sporadically, most frequently alongside Casino Steel of punk power poppers the Boys. He also played a handful of gigs with the Damned (subbing for an absent Dave Vanian) and was one of the leading contenders to replace the late Bon Scott in AC/DC. But he was more interested in acting again, taking well-received roles in the movies "Breaking Glass" and Bloody Kids before finally grasping stardom in 1983, as Wayne in British TV's Auf Wiedersehen, Pet. He returned to the stage, in the London cast of Pump Boys and Dinettes, and was just completing the much-anticipated second series of Pet when he died in his sleep from an overdose of alcohol and morphine. He left behind him one of the most enduring characters in British TV history, some truly memorable movie roles -- and one of the greatest unknown albums ever made.

With the Hollywood Brats' & Boys' keyboardist Casino Steel, Gary Holton recorded four albums (all of them selling well but only in Norway) in which you cand find covers of country and western songs "Ruby", sixties standards "Runaway" , "Baby I love You" or the Beatles' "No Reply" , songs from their own bands : The Boys' B-17 and the Heavy Metal Kids' "She's No Angel" and a few original songs. A stunning punk-country version of Kenny Rogers's "Ruby, Don't Take Your Love to Town" became a number one hit (in Norway : the C. Steel country) . They also write a song simply titled "Auf Wiedersehen Pet" about Garys' experiences in the T.V. show.

With Slaughter & the Dogs guitarist, Mick Rossi , Gary recorded also a good lp (soon on SOTD) finally released by Receiver Records in 1989. Allmusic & Wikipédia

Arthur Alexander (1940-1993), born in Sheffield, Alabama, was perhaps one of the biggest stars to arise out of the American country soul scene.

Working with Spar Music in Florence, Alabama, Alexander recorded his first single; "Sally Sue Brown" which was released in 1960 on Jud Phillips' Judd Records (brother of music pioneer Sam Phillips). A year later, A. Alexander cut "You Better Move On" at Muscle Shoals Studio. Released on Dot Records, the song became a Soul/R&B chart hit, and laid the foundation for the modern recording studio FAME. "You Better Move On" is perhaps Alexander's best-known song, covered by The Rolling Stones, the Hollies, George Jones & Johnny Paycheck and Mink DeVille. "Anna (Go to Him)", a U.S. R&B Top Ten Hit, was covered by The Beatles and Humble Pie. The Beatles also did live recordings of, "Soldier of Love", which was also performed by Marshall Crenshaw and Pearl Jam, "A Shot of Rhythm and Blues", and "Where Have You Been" recorded live at the Star Club, in Hamburg, 1962. "Set Me Free" were also major hits and established Alexander as a pioneering arranger of others' tunes, as well as an established songwriter in his own right. He switched to another label, Sound Stage 7, and although a 1972 album for Warner Brothers was promising, the singer's potential seemed to wither. He secured a pop hit with "Every Day I have to Cry" on Buddah Records 1975, but the success remained short-lived. The fine follow-up single "Sharing The Night Together" reached #92 on the R&B charts, but earned Dr. Hook & The Medicine Show a Top Ten in 1978.For many years, Alexander was out of the music business; he was a bus driver for much of this time. He began to perform again in 1993 as renewed interest was shown in his small but important catalogue. His last album "Lonely Just Like Me" was his first in 21 years. He signed a new recording/publishing contract in May 1993 but suffered a fatal heart attack the following month, three days after performing in Nashville with his new band. Wikipedia

Among musicians, Arthur Alexander was always considered one of the greatest R&B songwriters. Both the Beatles and the Rolling Stones covered his songs, "Anna (Go To Him)" and "You Better Move On" respectively, early in their careers. But they weren't the only ones -- throughout the years, his work was a rich source material for many blues, soul, rock and country artists. He may have earned the recognition of his peers, but he remained relatively unknown to the general public, right up to his death in 1993. In order to raise his profile, Razor & Tie released "Adios Amigo: A Tribute to Arthur Alexander" in 1994, assembling a stellar and diverse lineup to record new versions of his songs. The diversity and the fresh arrangements illustrates the depth of Alexander's songs and how well they lent themselves to new readings. Like any tribute album, Adios Amigo is uneven, with a few tracks falling flat, but the best moments -- Elvis Costello's "Sally Sue Brown," Robert Plant's "If It's Really Got to Be This Way," Chuck Jackson's "You Better Move On," Frank Black's "Old John Amos," John Prine's "Lonely Just Like Me," Gary U.S. Bonds' "Genie in the Jug," Graham Parker's "Every Day I Have to Cry" and Nick Lowe's "In the Middle of It All" -- are affectionate salutes to a departed master, and they're damn enjoyable in their own right as well. Allmusic